This chapter shows the unquestionable role of the sign of the cross as the primary sign of divine authority in Carolingian material and manuscript culture, a role partly achieved at the expense of the diminishing symbolic importance of the late antique christograms. It also analyses the appearance of new cruciform devices in the ninth century as well as the adaptation of the early Byzantine tradition of cruciform invocational monograms in Carolingian manuscript culture, as exemplified in the Bible of San Paolo fuori le mura and several other religious manuscripts. The final section examines some Carolingian carmina figurata and, most importantly, Hrabanus Maurus’ In honorem sanctae crucis, as a window into Carolingian graphicacy and the paramount importance of the sign of the cross as its ultimate organizing principle.
An Architectonics of Desire: The person on the path to Nada in John of the Cross.
